Macbeth Act 3 Scene 4 - Banquo's ghost appears Explanatory Notes for Act 3, Scene 4 From Macbeth. Ed. Thomas Marc Parrott. New York: American Book Co. (Line numbers have been altered.) ______ From every point of view this superb scene is one of the most remarkable in the whole play. The poetry rises to the highest pitch, and the theatrical effects are overwhelming. But it is, perhaps, most noteworthy for the light it casts upon Macbeth's state of mind. As, from the point of view of plot construction, the last scene marked the climax of the play, so, to the student of character, this scene is the turning-point in Macbeth's career. Up to this time, with all his hesitation and wild fancies and gloomy suspicions, he has had strength of mind and self-control enough to push forward to his objects and to hide from public view the bloody means by which he has obtained them. In this scene, however, we see a fatal collapse of his powers. Confronted by the spectre of his murdered victim he loses all self-control, and before the assembled nobility breaks out into speeches which must inevitably betray his guilt.

It is interesting to compare his behaviour immediately after the discovery of the murder of Duncan with his actions in the presence of Banquo's ghost. In the former case he retained all his presence of mind; his speeches, though perhaps somewhat exaggerated, conveyed the impression of wild grief for the king's death, and his act of putting the bewildered grooms to instant death was, perhaps, the most practical thing that he could have done at such a time. In the banquet scene, after one feeble effort to play his part, he loses consciousness of the witnesses and speaks to the ghost as if they were alone together. Equally noticeable is the fact that in this scene he passes altogether beyond his wife's control. She had been able to brace him up to the murder of Duncan and to control and direct him in the outburst of excitement which followed. In this scene, however, she is utterly unable to restrain him, and is forced to listen helplessly to the ravings that betray his guilty secret. In the dialogue between Macbeth and his wife which follows the retirement of the guests, we see evident signs of moral degeneration as well as of the collapse of his mental powers.

His expressed determination to seek out the witches and to wade through a sea of blood to obtain his objects shows how far he has fallen from the Macbeth who was horrified by the suggestion implied in the witches' greeting, and who needed all the powerful influence of his wife to nerve him to the murder of Duncan. The mention of Macduff and the witches serves also to link this scene to those of the next act, and so provides for continuity of action. 1. degrees, ranks. 1, 2. at first And last, from the beginning to the end of the feast, once for all. 3. Ourself, we (the royal plural). 5. keeps her state, remains in her throne; the "state" meant originally the canopy over the chair in which a king sat. 6. require, ask for. 9. encounter thee with their hearts' thanks, meet thy greeting with hearty thanks. 10. Both sides, of the long table at which the guests are sitting. Macbeth is playing the part of the genial king who leaves his throne to mingle with his nobles. He says he will sit down among them, but his anxiety to get news of the assault on Banquo keeps him on his feet.

At this moment he catches sight of the murderer at the door, and telling the nobles that in a few moments he'll drink a formal toast, a "measure," with them, he turns to the door and converses in low tones with the assassin. 11. large, unrestrained. 11. anon, soon. 14. 'Tis better ... within, An ungrammatical but very emphatic way of saying, "Banquo's blood is better on your face than in his body." 21. my fit, Macbeth speaks as if he were subject to an intermittent fever. He had hoped to be wholly cured of it by the death of Banquo and Fleance, but with the news of the latter's escape, his "fit" of fear attacks him again. 21. I had else been perfect, I would otherwise, i.e. if Fleance had been killed, have been completely well. 22. founded, firmly based. 23. general, free to go everywhere. 23. casing, enveloping. 24. cabin'd cribb'd, shut up in a narrow space, as in a cabin, or a hovel. 24, 25.

bound in To, confined along with. 25. saucy, insolent. 27. trenched, carved. 29. worm, snake. 29. By Banquo's death Macbeth is, at least, relieved of his present fears. Fleance, although one of the hated house to whom the witches have prophesied that the kingdom shall descend, is as yet too young to undertake anything against Macbeth. 32. hear ourselves, talk with each other. 33. the feast is sold, like a meal at an inn. 33. cheer, welcome. 37. Meeting, a formal gathering. 40. roof'd, under one roof. 40. our country's honour, the best men in the country. 41. graced, gracious. 42, 43. who may ... mischance, I hope I may rather be obliged to rebuke him as an unkind friend who forgot his engagement to sup with us, than to pity him for any misfortune which may have prevented him from keeping it. This speech is shamelessly hypocritical, for Macbeth is secretly rejoicing that his dreaded enemy will trouble him no more.

All the more overwhelming is the effect when he turns and perceives the ghost. 46. The table's full. Macbeth at first does not realize what has happened; he only sees that all the seats at the long table are occupied. When Lennox calls his attention to the seat reserved for him, Macbeth recognizes Banquo's ghost sitting in it. 48. moves, excites. 49. Which of you have done this? At the sight of the ghost Macbeth utterly loses his self-command. He makes, however, one vain attempt to shake off the overpowering sense of guilt by shifting the burden of the crime upon some member of the company. 53, 54. my lord ... youth. Note the quick tact with which Lady Macbeth comes to her husband's help. Laying the blame of Macbeth's sudden emotion and wild words upon a disorder which has afflicted him from his youth, she induces the nobles, who are rising excitedly from their places, to sit down again. Then she leaves the throne and hurries to Macbeth. Catching his arm, she draws him aside and attempts in low whispers to shame him into presence of mind by taunting him with cowardice. 55.

upon a thought, in a moment. 56. note, pay attention to. 57. passion, suffering. 57. You shall offend him, you are bound to make him worse, do him harm. 60. proper, fine. 61. painting of your fear, an image created by your fear, like the air-drawn dagger. 62. air-drawn, drawn in the air, imaginary. 63. flaws, outbursts. 64. become, suit. 64. Impostors to true fear, mere counterfeits when compared to those caused by an object truly to be feared. 66. Authorized, the accent is on the second syllable. 68. stool, chair. 71. charnel-houses, places where the bones of the dead are stored. 72. monuments, tombs. 72, 73. our monuments Shall be the maws of kites, our graves shall be in the stomachs of carrion crows. Macbeth seems to think that if the dead body were torn to pieces by kites, it would be impossible for the ghost to rise. 73. An Alexandrine with the feminine ending.

76. Ere humane statute ... weal, before laws passed by men, "humane statute," freed the country from anarchy and rendered it civilized. "Humane" is the regular spelling for "human" with Shakespeare; "weal" means "the commonwealth," "the nation"; "gentle" is used to characterize the nation as it was after the passage of the laws. The line is a characteristic example of the compact brevity and force of Shakespeare's later style. 81. mortal murders, deadly wounds. Macbeth is thinking of the murderer's report in line 27. 83, 84. My worthy lord ... lack you. Lady Macbeth sees that it is useless to try to shame Macbeth back to his senses. She returns to the throne, and, speaking to him quietly as if nothing had happened, calls his attention to the fact that he is neglecting his guests. The appeal succeeds in rousing him, and he turns to the company with an excuse for his strange behaviour, and proposes a toast. In the effort to play his part, however, he overdoes it, drinks to the health of Banquo, and expresses the wish that he were present.

This piece of bravado is promptly and effectively punished by the return of the ghost. 85. muse, wonder. 91. we thirst, we are eager to drink. 92. all to all, all good wishes to all of you. 92. Our duties, and the pledge, a formula equivalent to "we pay our homage to you as king, and drink the health you propose." 93. Avaunt! Note the change in Macbeth's tone. He is no longer overcome with fear at the sight of the ghost, but rather roused to wild anger. Lady Macbeth does not dare to address him, but devotes herself to the almost impossible task of inducing the peers to treat his words and actions as things of no importance. 95. speculation, power of sight. 101. arm'd, clad in armour. The reference is to the thick hide of the rhinoceros. 101. Hyrcan, Hyrcanian. Hyrcania was a district in central Asia supposed to be full of tigers. 102. nerves, muscles. 105. If trembling I inhabit then. There has been an immense amount of discussion over this passage.

If "inhabit" is taken intransitively in the sense of continuing in a certain place, the meaning of the passage is plain enough. "Come to life again," says Macbeth, "and challenge me to a duel. If I remain trembling at home, call me a coward." 105. protest, declare. 106. The baby of a girl, a little girl's doll, or, perhaps, the baby of a girlish mother, i.e. a puny infant. 109. displaced, driven away. 110. disorder. The word applies to Macbeth's conduct, not to any disorder among the nobles. 110. admired, amazing. 111. overcome, pass over. 112-115. You make me ... cheeks, you make me seem a stranger to myself, i.e. forget my natural quality of manhood, when I see that such a sight has no effect on you. Macbeth is addressing his wife, not the guests, whom he no longer notices. 113. disposition, character. 113. owe, own, possess. 117. speak not.

Lady Macbeth interposes hastily lest Macbeth should tell the nobles plainly what it was he saw. She herself has not seen the ghost, but from what she knew of her husband and his hatred of Banquo, and from the hints he had dropped in the afternoon, it was not difficult for her to guess what the vision was that had so affected him. 119. stand not ... going, do not depart ceremoniously in the order of your ranks. 122. It will have blood. With the departure of the guests Macbeth relapses into melancholy brooding over the consequences of his deed. He feels sure that the murder of Banquo will be discovered and that he will have to pay the penalty. Note that Lady Macbeth makes no effort either to reproach or to comfort him; she sees plainly that her influence over him is gone. All she can do is to try to get him to sleep and forget his thoughts. 124. Augures, auguries. 124. understood relations, the secret relations between things, understood by diviners and soothsayers. 125. maggot-pies, magpies. 125. choughs, jack-daws. 126.

What is the night? What time of the night is it? 127. Almost at odds with morning, so near day that you can hardly tell whether it is night or morning. 128, 129. How say'st thou ... bidding? What do you say to Macduff's refusing to accept our royal invitation to the feast. 130. by the way, incidentally, i.e. I have not received a direct refusal from Macduff, but I know that he will not come. Macbeth explains the source of his information in the following reference to the paid spies he keeps in the houses of his nobles. 139. Strange thirds. Macbeth is perhaps referring to his designs against Macduff. 142. My strange and self-abuse, my strange self-deception. Macbeth speaks as if he were now convinced that the vision of Banquo was only a deception of his senses, 143. the initiate fear, the fear of the novice. 144. young in deed, inexperienced in deeds of bloodshed. ________ How to cite the explanatory notes: Shakespeare, William. Macbeth. Ed. Thomas Marc Parrott.

New York: American Book Co., 1904. Shakespeare Online. 10 Aug. 2010. < >. ________ Characteristics of Elizabethan Tragedy Differences Between Macbeth and Lady Macbeth "The antithesis between the two is that between the practical life and the intellectual, and the effects of this difference are everywhere apparent. Macbeth is bold and resolute in the moment of action; he can kill a king, and he has a curious gift of ready speech throughout, which avails him to answer unwelcome questions. But when there is nothing to be actually done he is devoid of self-control; he cannot wait nor stand still; he becomes a prey to countless terrible imaginings; he is wildly superstitious. In all this Lady Macbeth is the exact converse; she has banished all superstition from her soul; she is strong enough of will to quell her husband's cowardly fears; she can scheme and plot, but she cannot act; she must leave the actual doing of the deadly deed to Macbeth." E. K. Chambers. Read on...

____ SparkNotes: Macbeth: Act 3, scenes 4–6 Act 3, scenes 4–6 Act 3, scenes 4–6 → Act 3, scenes 1–3 Act 3, scenes 4–6, page 2 page 1 of 2 Summary: Act 3, scene 4 Onstage stands a table heaped with a feast. Macbeth and Lady Macbeth enter as king and queen, followed by their court, whom they bid welcome. As Macbeth walks among the company, the first murderer appears at the doorway. Macbeth speaks to him for a moment, learning that Banquo is dead and that Fleance has escaped. The news of Fleance’s escape angers Macbeth—if only Fleance had died, he muses, his throne would have been secure. Instead, “the worm that’s fled / Hath nature that in time will venom breed” (3.4.28–29). Returning to his guests, Macbeth goes to sit at the head of the royal table but finds Banquo’s ghost sitting in his chair. Horror-struck, Macbeth speaks to the ghost, which is invisible to the rest of the company.

Lady Macbeth makes excuses for her husband, saying that he occasionally has such “visions” and that the guests should simply ignore his behavior. Then she speaks to Macbeth, questioning his manhood and urging him to snap out of his trance. The ghost disappears, and Macbeth recovers, telling his company: “I have a strange infirmity which is nothing / To those that know me” (3.4.85–86). As he offers a toast to company, however, Banquo’s specter reappears and shocks Macbeth into further reckless outbursts. Continuing to make excuses for her husband, Lady Macbeth sends the alarmed guests out of the room as the ghost vanishes again. Macbeth mutters that “blood will have blood” and tells Lady Macbeth that he has heard from a servant-spy that Macduff intends to keep away from court, behavior that verges on treason (3.4.121). He says that he will visit the witches again tomorrow in the hopes of learning more about the future and about who may be plotting against him.

He resolves to do whatever is necessary to keep his throne, declaring: “I am in blood / Stepped in so far that, should I wade no more, / Returning were as tedious as go o’er” (3.4.135–137). Lady Macbeth says that he needs sleep, and they retire to their bed. Read the side-by-side translation of Act 3, scene 4 → Summary: Act 3, scene 5 Upon the stormy heath, the witches meet with Hecate, the goddess of witchcraft. Hecate scolds them for meddling in the business of Macbeth without consulting her but declares that she will take over as supervisor of the mischief. She says that when Macbeth comes the next day, as they know he will, they must summon visions and spirits whose messages will fill him with a false sense of security and “draw him on to his confusion” (3.5.29). Hecate vanishes, and the witches go to prepare their charms.

Read the side-by-side translation of Act 3, scene 5 → Summary: Act 3, scene 6 That night, somewhere in Scotland, Lennox walks with another lord, discussing what has happened to the kingdom. Banquo’s murder has been officially blamed on Fleance, who has fled. Nevertheless, both men suspect Macbeth, whom they call a “tyrant,” in the murders of Duncan and Banquo. The lord tells Lennox that Macduff has gone to England, where he will join Malcolm in pleading with England’s King Edward for aid. News of these plots has prompted Macbeth to prepare for war. Lennox and the lord express their hope that Malcolm and Macduff will be successful and that their actions can save Scotland from Macbeth. Read the side-by-side translation of Act 3, scene 6 → Analysis: Act 3, scenes 4–6 Throughout Macbeth, as in many of Shakespeare’s tragedies, the supernatural and the unnatural appear in grotesque form as harbingers of wickedness, moral corruption, and downfall.

Here, the appearance of Banquo’s silent ghost, the reappearance of the witches, and the introduction of the goddess Hecate all symbolize the corruption of Scotland’s political and moral health. In place of the dramatization of Macbeth’s acts of despotism, Shakespeare uses the scenes involving supernatural elements to increase the audience’s sense of foreboding and ill omen. When Macbeth’s political transgressions are revealed, Scotland’s dire situation immediately registers, because the transgressions of state have been predicted by the disturbances in nature. In Macbeth’s moral landscape, loyalty, honor, and virtue serve either as weak or nonexistent constraints against ambition and the lust for power. In the physical landscape that surrounds him, the normal rules of nature serve as weak constraints against the grotesqueries of the witches and the horrific ghost of Banquo. 1 The Tragedy of Macbeth: Plot Summary Acts 3, 4, and 5 Macbeth: Plot Summary (Acts 3, 4 and 5) Act 3, Scene 1 The act opens at the royal castle on the day of a great feast to celebrate Macbeth's coronation. Banquo is the first to enter the great dining hall.

The prophecy of the Witches races through his mind, and he begins to believe that Macbeth himself was responsible for the fulfillment of the Hags' prediction. He thinks upon his own destiny as foretold by the Witches. If Macbeth is now king, Banquo is sure to father future kings. A trumpet sounds and King Macbeth and his Queen enter the hall with Lennox, Ross, and a long parade of servants. Macbeth is very concerned with Banquo's activities for the day, and asks him where he plans to go before dinner begins. Banquo tells him that he and his son, Fleance, are going to ride on the vast castle grounds in the afternoon, but he assures Macbeth he will not miss the feast. Macbeth orders everyone to take the afternoon for himself and be 'the master of his time' until seven that evening, when the banquet will commence. Everyone rushes off, except Macbeth and a servant. He asks the servant to bring in two men that have been waiting at the palace gate. Alone for a brief moment, Macbeth reveals his plan to have Banquo and Fleance murdered while they are out riding.

Killing now comes easier to Macbeth and he will gladly slay his friend and his child if it means securing the throne for his own lineage. The servant returns with the men whom Macbeth has commissioned to kill Banquo and Fleance. Macbeth gives them some final instructions and sends them on their way. As the scene comes to a close, we see Macbeth's transformation into a evil villain now complete: "It is concluded: Banquo, thy soul's flight/If it find heaven, must find it out to-night." (3.1.140-141). Act 3, Scene 2 In another room in the castle, Lady Macbeth orders a servant to find her husband. Lady Macbeth is not as happy as she thought she would be as Queen of Scotland, and, although she hides it better than Macbeth, the murder is all that she can think about. Despite the fact that they now have exactly what they desired, Lady Macbeth confesses that they have gained nothing and lost everything by killing Duncan: 'Nought's had, all's spent' (3.2.4). Macbeth enters and he too admits to consuming feelings of guilt and fear.

He laments 'In the affliction of these terrible dreams/That shake us nightly: better be with the dead' (3.2.18-9). Lady Macbeth wants to think of other, more pleasant things, and she tells her husband to be happy and enjoy his feast. Macbeth informs her that he has decided to kill Banquo and Fleance. She asks for details but, to save her from further guilt, Macbeth will not tell her any more: 'Be innocent of the knowledge, dearest chuck' (3.2.44-6). Act 3, Scene 3 The two murderers set out to find Banquo and Fleance, riding on the palace grounds. A third murderer joins them, sent by Macbeth to ensure the killing is carried out according to plan. They hear horses approach. It is Banquo and his son, walking toward the stables, talking about the fun of the day. Night has fallen early and they carry a lit torch. The First Murderer attacks Banquo but before he dies he cries out to Fleance to run away as fast as he can. In the scuffle the torch goes out and Fleance successfully escapes into the dark countryside.

The murderers know that they have left incomplete the more important task of killing Banquo's son, but they nonetheless head to the castle to report Banquo's death to Macbeth. Act 3, Scene 4 The banquet is underway in the great hall of the royal palace. Amidst the revelers, Macbeth sees the First Murderer and, as inconspicuously as possible, he walks over to speak with him. The First Murderer tells him that the blood Macbeth sees upon his face is Banquo's and that Fleance has escaped. Macbeth is unhappy with the news that Fleance remains alive, but he focuses on the good news of Banquo's death and decides to take his place at the dinner table. But Macbeth's seat is already occupied. It is Banquo's ghost, and Macbeth is horrified. Before his stunned guests he begins to speak to what they believe is an empty chair: "Prithee, see there! behold! look! lo! how say you?/Why, what care I? If thou canst nod, speak too" (3.4.68-70).

Lady Macbeth tells the guests that Macbeth is suffering from stress, and, when the ghost disappears, Macbeth regains his composure. He says that he has a "strange infirmity" and quickly calls for more wine and toasts the "general joy of the whole table." Unfortunately, Macbeth decides to mention Banquo specifically in the toast, which prompts the re-appearance of Banquo's ghost. Macbeth again reacts to the spirit, much to the bewilderment of his guests. Lady Macbeth, afraid her husband is losing his mind and will reveal their crimes, bids the guests an abrupt goodnight and shuffles them out of the hall. When they are alone, Lady Macbeth, who is baffled by Macbeth's behavior, tells him that his lack of sleep is causing him to hallucinate. Macbeth insists that he must consult the three Weird Sisters to find out what dangers lie in wait. Macbeth and his Lady retire to bed and the scene ends with Macbeth's final thought that, because he is new to such heinous crime, his conscience is overactive, but he will improve with time.

As he tells Lady Macbeth: "We are yet but young in deed" (3.4.146). Act 3, Scene 5 Thunder crashes overtop a lonely heath where the Witches are gathered. Heccate , the goddess of witchcraft, scolds the Hags for not including her in their meetings with Macbeth. Heccate tells them that they must reassure Macbeth when he comes to visit, for she knows that security "Is mortals' chiefest enemy" (3.5.34). Act 3, Scene 6 In a room in the palace, Lennox and another lord discuss the deaths of Duncan and Banquo. Lennox now suspects Macbeth has committed the murders and subtly reveals his thoughts in an exceptional speech, noted for its sustained irony. The lord also suspects Macbeth, and he tells Lennox that Malcolm has the support of Edward, King of England, and that Macduff has since sided with Malcolm and is gathering an army as they speak. They hope Malcolm and his troops return as soon as possible to help the Scottish rebels overthrow Macbeth. Act 4, Scene 1 The act opens in a dark cave.

In the center of the cave a cauldron boils, and around it the Witches gather. They cast spells in anticipation of Macbeth's arrival. Macbeth enters and the Witches agree to show him what the future has in store. Amidst crashes of thunder, three apparitions appear. The first is an armed head, summoned to warn Macbeth that Macduff is coming back to Scotland to ruin him. The second apparition is a bloody child and it tells Macbeth that no man born of a woman can do him harm. This gives Macbeth great confidence: "Then live Macduff: what need I fear of thee?" (4.1.78-80). The third apparition is that of a child wearing a crown and holding a tree. It tells Macbeth that: "Macbeth shall never vanquish'd be until/Great Birnam wood to high Dunsinane hill/Shall come against him" (4.1.87-90). Macbeth is secure that the third apparition's prophecy will never be, for 'who can impress the forest?' or 'bid the tree unfix his earth-bound roots?' (4.1.91-3).

Macbeth's confidence is restored, but one question remains: what of Banquo's prophecy? He asks the Witches if Banquo's descendants will still rule Scotland, and in response they summon a vision of eight kings. The kings pass over the stage in order; the last holding a glass. Banquo's ghost follows behind them, and Macbeth flies into a rage at the Witches who have revealed his worst fear. They dance and cackle and vanish into the darkness. Lennox enters the cave and Macbeth is worried that he has seen the Witches. But Lennox has seen nothing. He tells Macbeth that there are horsemen outside, come to report that Macduff has sided with Malcolm who is gathering an army of English soldiers. Macbeth decides that he must kill Macduff and his whole family as punishment for his betrayal. Act 4, Scene 2 The scene turns to Macduff's castle where Lady Macduff is livid because her husband has left her and their son to go to England. Ross tells her to remain calm, reminding her that Macduff is wise and noble, and would not leave lest it was of utmost importance.

Ross leaves and, in her anger, Lady Macduff tells her son that Macduff is dead. But her son is sharp like his father and he challenges her, prompting humorous banter between the two. A knock at the door interrupts their conversation. It is a messenger who has somehow learned of Macbeth's plan to have Lady Macduff and her son murdered. He begs her to flee at once and he runs from the castle in terror. Lady Macduff, sure she has done nothing wrong, hesitates to leave. This delay is costly indeed, for the murderers arrive and burst through the heavy wooden doors. They tell her that her husband is a traitor and one of the murderers grabs her son and stabs him, killing him instantly. Lady Macduff runs screaming from the castle, but the murderers chase her down and slay her. Act 4, Scene 3 Macduff has arrived at King Edward's palace in England. Malcolm, however, is distrusting of Macbeth because he feels that Macbeth, who was himself once noble and trustworthy, has corrupted everyone around him.

Malcolm tests Macduff's loyalty to him and Scotland by pretending to be a greedy and base prince who will 'cut off the noble's from their land' when he gains the Scottish crown. When Macduff morns openly for his country that has one evil ruler and another in wait, Malcolm confesses that his words were only to test Macduff's commitment to him and Scotland. Ross comes from Scotland with the horrible news that Macbeth has murdered Macduff's family. Macduff, utterly destroyed by the foulness of the deed, cannot believe it, and must ask repeatedly if his wife and child are really dead. Malcolm implores Macduff to turn his anguish into anger: "be this the whetstone of your sword: let grief/Convert to anger; blunt not the heart, enrage it" (4.3.211-13). Macduff vows revenge and they leave to gather their troops and head for Scotland. Act 5, Scene 1 With Macbeth busy assembling his men to fight Malcolm, Lady Macbeth is left alone in the castle at Dunsinane.

When the two were together they could feed off each other's strength and prevent one another from dwelling on their crimes. But Macbeth is gone and Lady Macbeth is left to brood over the atrocities Macbeth has committed at her command. Her guilt and fear follow her even in dreams, and she begins to walk in her sleep. Her Gentlewoman has seen her several times rise from her bed. The Gentlewoman calls for a doctor who watches for two nights but does not see Lady Macbeth come out of her chamber. But, on the third night, he observes Lady Macbeth walk down the hall with a lantern, rubbing her hands violently. She reveals the events of that gruesome night and utters one of the most famous line in all of literature: "Out, damned spot! out, I say!" (5.1.37). The murder of Macduff's family and Banquo also weigh heavy on her mind: "The thane of Fife had a wife; where is she now? What, will these hands ne'er be clean?" (5.1.44-5).

The Doctor is horrified to know the truth and he refuses to report to anyone what he has just seen and heard for fear that his own life will be in jeopardy. He leaves the castle, knowing that no doctor can cure what ails Lady Macbeth: "More needs she the divine than the physician" (5.1.77). Act 5, Scene 2 The action moves to the countryside near Dunsaine where the rebels, led by Lennox and Angus, await the English army that will soon arrive. They make plans to meet at Birnam Wood and Cathiness, one of the soldiers, tells the others that Macbeth is hold up in the royal castle preparing for the attack. Act 5, Scene 3 Macbeth is in his war room awaiting Malcolm and his troops. Because of the three apparitions, Macbeth is confident that he will be victorious, and he refuses to hear the reports from his generals. The Doctor comes in and Macbeth asks anxiously about his wife. The Doctor tells him that she seems troubled and cannot rest. Macbeth orders the Doctor to cure her: "Canst thou not minister to a mind diseased/Pluck from the memory a rooted sorrow?" (5.3.40-1).

Quite courageously, the Doctor replies, "Therein the patient/Must minister to himself" (5.3.45-6). Macbeth rejects his useless answer and angrily calls for his armour. Although we can see Macbeth starting to crumble under the mounting pressure, he convinces himself that he is still not afraid of defeat "Till Birnam forest come to Dunsinane" (5.3.59-60). Act 5, Scene 4 Malcolm orders his men to each cut a branch from a tree from Birnam forest to provide camouflage as they attack the castle. Malcolm's command to carry the boughs signals the true end of Macbeth, for Birnam Wood is moving toward Dunsinane. Act 5, Scene 5 On the castle walls Macbeth waits, sure that Macduff and Malcolm will die of famine before they can penetrate his defense. Suddenly a cry is heard from within the castle. Seyton goes to investigate and, when he returns, he tells Macbeth that his wife is dead. With the news that he has lost his precious lady, Macbeth resigns himself to the futility of life.

A messenger enters and reports that he has seen an amazing sight -- the woods are moving toward the castle. Macbeth is at first unbelieving and slaps the messenger, calling him a 'liar and slave!'. But Macbeth cannot deceive himself any longer and he vows that, if he must die, he will die a valiant soldier in battle: If this which he avouches does appear, There is nor flying hence nor tarrying here. I'gin to be a-weary of the sun, And wish the estate o' the world were now undone. Ring the alarum bell! Blow wind! come wrack! At least we'll die with harness on our back. Act 5, Scene 6 In this very short scene we see Malcolm, Siward, and Macduff gathered with their troops on the plain before Macbeth's castle. They throw down their 'leafy screens', sound the trumpets, and wage their assault on the royal palace. Act 5, Scene 7 Macbeth has left the castle to fight Malcolm's army on the battlefield. Although he has resigned himself to defeat, he remembers the second apparition.

Still convinced that he will never meet a man not born from a woman, he regains the hope that it is yet possible for him to escape. He meets young Siward who calls him a liar and challenges him to fight. Macbeth gladly obliges and, with his skill as a great warrior, easily kills the young man. But the noise of the fight attracts Macduff and he runs to confront Macbeth. Act 5, Scene 8 Macbeth, with his newfound hope and determination, continues to fight Malcolm's army. Macduff comes up behind him, demanding that the "hell hound turn" (5.8.3) and fight. Macbeth tells him to leave, for he does not want the blood of another Macduff on his hands. Macduff refuses and charges at Macbeth. They fight, and Macbeth boasts that he is indestructible: "I bear a charmed life, which must not yield/To one of woman born" (5.8.1203). Macduff reveals that he was not of woman born, but 'untimely ripped' from his mother's womb.

Macbeth realizes that the Witches, in their evil trickery, have only helped in his destruction, and he resigns himself to death. Not far away, the victorious Malcolm rallies his soldiers. Macduff joins them, carrying the head of Macbeth. He hails the new King Malcolm and the King's promise of restoration brings the play to a close: We shall not spend a large expense of time Before we reckon with your several loves, And make us even with you. My thanes and kinsmen, Henceforth be earls, the first that ever Scotland In such an honour named. What's more to do, Which would be planted newly with the time, As calling home our exiled friends abroad That fled the snares of watchful tyranny; Producing forth the cruel ministers Of this dead butcher and his fiend-like queen, Who, as 'tis thought, by self and violent hands Took off her life; this, and what needful else That calls upon us, by the grace of Grace, We will perform in measure, time and place: So, thanks to all at once and to each one, Whom we invite to see us crown'd at Scone.

(5.8.60-75) How to cite this article: Mabillard, Amanda. Macbeth: Plot Summary. Shakespeare Online. 20 Aug. 2000. < >. __________ Macbeth Act 3, Scene 4 Summary Macbeth Act 3, Scene 4 Summary NEXT Meanwhile, back at the dinner party, the Macbeths make a big show of welcoming their guests. The first murderer enters as everyone is being seated. Macbeth darts off to see the first murderer, who informs him that they've slit Banquo's throat, but that Fleance has escaped. Ooh. Not good. Macbeth is pretty sure that this is really going to tick Fleance off. And now the fun begins: Banquo's ghost shows up. Because the ghost is silent, he gets to creep around quite a bit before anyone notices. While everyone is busy not noticing, Macbeth raises a toast and calls special attention to Banquo's absence as unkindness or mischance on Banquo's part. This is particularly hilarious given the presence of…Banquo's ghost. Again Macbeth is invited to sit, and in the spot they've reserved for him sits…Banquo's ghost.

Naturally, Macbeth goes into a fit, and the lords all take notice, while Lady Macbeth excuses him for these "momentary" fits he has had since childhood. She urges them to keep eating, and then corners Macbeth, who is still hysterical. Lady Macbeth asks if Macbeth is a man, because he's not acting like one so much as he is acting like a sissy. Lady Macbeth dismisses the vision as a painting of his own fear. Meanwhile, Macbeth is discoursing with the ghost that only he sees, and it disappears. Everything is just getting back to normal when the ghost reappears. Again Macbeth calls out a toast to the missing Banquo (he's just asking for it now) and noting the ghost, screams out at him that if he appeared in any other form, Macbeth's nerves would not tremble. After some challenging along this line, it's pretty clear the party's over, and though Macbeth tries to recover, he scolds everyone else for seeming to be so calm in the face of such a horrible sight. Lady Macbeth tells the now very worried lords to leave immediately, and as they exit, Macbeth philosophizes that blood will have blood.

Morning is now approaching, and Macbeth points out that Macduff never showed at the party. He lets out that he has had a spy in Macduff's house. He promises to go to the witches the next day, and announces that he's in so deep a river of blood, it would be as hard to go back as to cross. Lady Macbeth suggests that maybe he just needs a good night's sleep, and so they go off to bed. Sweet dreams, you crazy kids! Why does Macbeth see Banquo's ghost in Act 3, Scene 4 of Macbeth? | eNotes Why does Macbeth see Banquo's ghost in Act 3, Scene 4 of Macbeth? William Delaney | (Level 3) Distinguished Educator Posted on April 15, 2014 at 7:12 PM Banquo is an important character in the play, and therefore Shakespeare gave the part to an important actor. Shakespeare probably disliked killing this character off so early in the play. While he was writing the script he probably thought of bringing Banquo back as a ghost, thereby getting more exposure for the actor playing the part.

Once Shakespeare had established that Banquo was a ghost, he could use the same actor yet again in the scene in which Macbeth confronts the three witches and demands to know more about the future. I conjure you, by that which you profess, Howe'er you come to know it, answer me: Though you untie the winds and let them fight Against the churches, though the yeasty waves Confound and swallow navigation up, Though bladed corn be lodged and trees blown down, Though castles topple on their warders’ heads, Though palaces and pyramids do slope Their heads to their foundations, though the treasure Of nature's germens tumble all together Even till destruction sicken, answer me To what I ask you. (Act 4, Scene 1) The witches conjure three apparitions and finally show Macbeth eight kings with the ghost of Banquo standing behind them to symbolize that they are his own descendants. Macbeth realizes that his assassination of Duncan was futile, since he only made it possible for Banquo's progeny to inherit the throne. Shakespeare got extra exposure out of actors in other plays besides Macbeth. In Hamlet, for example, he has the ghost of Hamlet's father appear several times.

First the ghost appears to Horatio, Marcellus and Bernardo in Act 1, Scene 1. Then it appears again in Act 1, Scenes 4 and 5. And much later in the play it will appear to Hamlet when he is having his violent confrontation with his mother in Act 3, Scene 4. There was no great necessity for using the ghost again in Act 3, but it gives the actor and an interesting character more exposure. Shakespeare must have used minor actors many times in different roles in the same play. It seems likely, for instance, that the same boy actor played Portia and Calpurnia in Julius Caesar wearing different gowns and different wigs. Sources: Let's start with the fact that Macbeth is paranoid. Not only does he ask the murderers twice if Banquo is really dead, but he also admits that he is uneasy because Fleance got away: MURDERER: Most royal sir, MACBETH: Then comes my fit again: I had else been perfect, His paranoia shows again in this quote: MACBETH: It will have blood: they say blood will have blood. Stones have been known to move and trees to speak.

He is afraid of what he has brought down upon himself, and begins to believe that his evil actions will have consequences. Also, remember that Banquo had been Macbeth's best friend. Macbeth had offerred Banquo "honor" in Act II, scene i, if only Banquo agreed to "cleave to [Macbeth's] consent." Although Banquo angers Macbeth by refusing, this was still someone with whom he had fought in battle, a true ally. To have been the instrument of his death is bound to create guilt. We know from Macbeth's reaction to Duncan's murder, when he says he shall never sleep again, that he is capable of guilt. The ghost is a manifestation of that, just as the dagger was a manifestation of his ambition. Sources: In Macbeth act III scene 4, upon returning to the banquet table, what does Macbeth see and how does he respond? | eNotes In Macbeth act III scene 4, upon returning to the banquet table, what does Macbeth see and how does he respond?

Kristen Lentz | Middle School Teacher | (Level 1) Educator Emeritus Posted on May 1, 2012 at 11:33 PM In Macbeth, Act 3, Scene 4, Macbeth arrives to join the banquet table, only to see all the seats are full. Lennox points out a seat, saying that it has been reserved for Macbeth. To Macbeth's surprise, the 'empty' seat actually is occupied by the ghost of Banquo. Macbeth has only just learned that Banquo's murder has been successful. For him suddenly to see the ghost of the man whose murder he arranged startles Macbeth. He suspiciously reacts to the crowd at the table, accusing "which of you have done this?" (48) Banquo's ghost, however, is not a practical joke or a set up, and Macbeth's guilt at having ordered the man's death overwhelms him. He denies his role to the ghost, "thou canst say I did it; never shake thy gory locks at me" (46). He refuses to take responsibility for his actions, even to the man he condemned to death.

His reactions to the ghost, whom no one else can see, are so bizarre that Lady Macbeth has to pretend he is having a fit, merely to justify his erratic behavior to the dinner guests. Sources:

Question: Whose ghost was at the dinner table in "Macbeth"?
Answer: BANQUO'S